The director's latest project may have revitalized the concept of African American undead, but the roots of this subgenre date back to the 1970s cultural movement. Among the most memorable early examples was the 1972 classic Blacula. In that motion picture, William Marshall's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, the performer transformed the part into something regal, providing his character an historical origin as Mamuwalde, a proud African prince.
Decades later, the comedic star appeared to draw a cue from Marshall, deepening his own protagonist's lore in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be humorous, frightening, and thought-provoking simultaneously, earning its place in the canon by balancing all three while honoring the heritage of the category.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a little comedy with your frights this spooky season.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is drawn to the Big Apple. But instead of journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his undead bloodline with an offspring of his tribe.
The character makes his entrance in New York on a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a black wolf jump from the ship, run into an alley, and morph into a man — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music starts, establishing the tone for a film that handily balances scares and laughs.
Artistic Goals
Recently after his final entry in the Nightmare on Elm Street series, the director was eager to move beyond his horror reputation and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). At the same time, Murphy aimed to subvert expectations by venturing into a straight horror based on Dracula lore. The conflict of those creative goals explains the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But once the film hits its stride, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the story. One of Black cinema’s most praised performers, she delivers a commanding acting with her co-star, a well-known actor from the time. Meanwhile, the lead spends the majority of the film with his comedic partner, creating a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his appearance deteriorates during the movie is a standout moment of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film reaches its peak — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to remove all Rita has in her life and then intervene. He murders her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her beliefs.
As the story unfolds, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This results in a final section packed with seduction, as life and eternal punishment are at stake. The film concludes with a teaser hinting at a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a moderate financial success and got mostly negative reviews upon release. Over time, it found new life as a beloved classic, with reviewers later applauding the filmmaker's work, the spark between the leads, and its clever mix of frights and fun. The film shows glimpses of genius that might have shone brighter had everyone involved been in agreement on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of African American scary movies, an underappreciated but impactful entry defined by its daring approach and memorable acting.
